by Maya Verlaak

There is no brass in this given set up of the ensemble. I did not like that. I like to use instrumental characteristics as material for structure. I took the range of the violin, viola, cello, clarinet and flute. I made each one of them into a 10min sine tone glissando. Each of these 10min. sine tones were played back through a metal object. The answer of this object was recorded. The object reacted for different sine tones on similar tones but at different times, depending on the particular instrument and its range. The range of the instruments and the resonant frequencies of the object created the structure of the piece. This material was transcribed and this is what you will hear. There was a lot of sound material so I had to filter it to the most important peaks. All material under -10db was filtered out. All the rest was divided into 3 depths, in 3 groups: Piano, Marimba and the rest.

Peter Adriaansz is performing on melodica as a solist with the ensemble. This is a joke. Peter was my teacher and many of his pieces involve sine tones. At some point many of his students started to compose pieces with sine tones,...  I composed an extra part just for him to play on a silly instrument. He is playing the sine tones I used to structure the piece. I never had the idea to use those sine tones in the final result of the piece, to me it was only a tool to create the material but when I imagined the hilarious image of Peter playing melodica I couldn't stop myself.

The piece was composed for and performed by the New European Ensemble.
It was first performed at The Hague Royal Conservatoire (NL) during the Spring Festival in 2015.
It will be perfomed again during the Gaudeamus festival 2015 in Utrecht (NL)

You can see a video here: